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Revolution Come... Revolution Go

Gov't Mule has announced the release of their anticipated 10th studio album Revolution Come... Revolution on Fantasy Records. Steeped in the roots and mystique of rock, blues, soul, jazz and country, Revolution Come... Revolution Go enriches Gov't Mule's distinguished legacy with cleverly crafted songs, intelligent and timely lyrical commentary, and downright incendiary playing, while the depth and breadth of the band's stunning songwriting is displayed with full force.

Revolution Radio

Produced by Green Day and recorded in Oakland, Revolution Radio is a potent 12-track blitz of angst-ridden anthems that unites Green Day's fully formed stylistic approach with lyrical themes that address the complexities and uncertainties of modern day existence. Musically, the album is raw, visceral, and fearless -- solidifying the band's reign as one of the leading voices in rock music. The first single, Bang Bang, released today and inspired by recent events, marks a welcome return from a band with more to say than ever.

Of course the world has lost its collective mind... and me, Mike and TrÉ are lost souls too, said Green Day frontman Billie Joe Armstrong. Revolution Radio is a movement for lost souls to come together... dance together... sing together... and most of all, find each other. That's what the spirit of Green Day has been about since day one.

Sort Of Revolution

Following the 2006 release of debut LP Biscuits for Breakfast, and 2007's Distance and Time, singer songwriter Fin Greenall, aka Fink, returns in 2009 with the self-produced Sort of Revolution. A beautiful fusion of jazz, blues and soulful acoustic rhythms.

Revolution Radio (Picture Disc) (Pre-Order)

Picture Disc Edition

Produced by Green Day and recorded in Oakland, Revolution Radio is a potent 12-track blitz of angst-ridden anthems that unites Green Day's fully formed stylistic approach with lyrical themes that address the complexities and uncertainties of modern day existence. Musically, the album is raw, visceral, and fearless -- solidifying the band's reign as one of the leading voices in rock music. The first single, Bang Bang, released today and inspired by recent events, marks a welcome return from a band with more to say than ever.

Of course the world has lost its collective mind... and me, Mike and TrÉ are lost souls too, said Green Day frontman Billie Joe Armstrong. Revolution Radio is a movement for lost souls to come together... dance together... sing together... and most of all, find each other. That's what the spirit of Green Day has been about since day one.

Soul To Soul (Pure Pleasure)

The acclaimed composer, jazz vocalist, producer, arranger and educator Carmen Lundy believes in honesty and sincerity in music. Her artistic passion has guided her around the world, working with numerous musicians such as Geri Allen, Patrice Rushen, Teri Lynne Carrington and many others. So it should come as no surprise that her fervent new song cycle, titled Soul To Soul, features an array of award-winning musicians that help her realize the next chapter in her critically acclaimed career.

Soul To Soul is Carmen Lundy's 14th album and features 13 songs, 11 of which Carmen composed and arranged. She plays guitar on all tracks, piano on "Kindred Spirits", the electric Rhodes on "Don't You Know How I Feel", and the drums/percussion on "Sardegna" and also provides backing vocals on "Grace". The Los Angeles-based vocalist opens the program with "Kindred Spirits", a song that explores the concept of 'you reap what you sow' and the way you play the game of life. Next is "Life Is A Song In Me", during which Lundy's lyrics benefit from the synergy of her multi-octave range and vocalese, Rushen's Rhodes solo, Jamison Ross' exemplary drumming and the balanced backing vocals.

Carmen Lundy continues to find new connections between the jazz elements used by vocalists and instrumentalists on the title track, "Soul To Soul". She adds the stellar accompaniment of trumpeter Randy Brecker, tenor saxophonist Ada Rovatti and piano chops of Patrice Rushen to underline her musical persona and vocal technique. The sound motion inherent in that song has great tone that many people will feel instantly and submit it to their memory and recall abilities. That is what makes a song a hit with people - its sound motion.

Her great ballad, "When Will They Learn", is absolutely beautiful with its string arrangements for harpist Carol Robbins and the serene brushwork of Jamison Ross. Here Carmen delivers the song in her vocals lower octaves which make this moving song one of the best on the recording. You can hear that she has internalized the music, allowing it to flow in her veins and transferring it directly to the listener.Overall, Soul To Soul is among Carmen Lundy's best recordings. She understands that those notes she puts down on paper are important and have their place. But when it comes to delivering those notes, her vocal acumen and virtuosity proves that she has the right balance, the right accompaniments, the right musical formats and the right synergy, artistry and jazz sensibilities to make those inspired notes accessible to her worldwide fans. Check it out.

At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.

During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.

A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.

We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.

We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.

To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.

1. Kindred Spirits2. Life Is a Song in Me3. Soul to Soul4. When Will They Learn5. Daybreak6. Between Darkness and Dawn7. Grace8. Grateful, Pt. 19. Grateful, Pt. 210. Everything I Need11. Don't You Know How I Feel12. Sardegna13. What's Your Story, Morning Glory

Stone Soul (Speakers Corner)

With all the exultation about the reconciliation between the capitalistic USA and the socialistic island state of Cuba, it is easy to oversee that the musical fusion between the two countries took place decades ago. Afro Cuban jazz, in which the interpretation and rhythms of swing and bebop are united with all imaginable rhythms from Brazil and the Caribbean, was label enough to describe a peaceful yet exciting and revolutionary music.

At first glance it appears that in his album Stone Soul the Cuban percussionist Mongo Santamaria just took a handful of popular songs from pop and soul and 'translated' them into his own musical language. So far so good: but the enthusiasm and joy with which the band performs is anything but ordinary. Once the threshold for a potent Latin combo has been overcome with meaty winds (See Saw), Sonny Fortune on the alto sax storms ahead along rhythm & blues tracks and breaks out with hectic cleft licks on his own headstrong path. Incited by crisp percussion, one can experience how traditional music is combined with a musician's own ideas to create completely new music.

Musicians:

Mongo Santamaria (conga,bongo)

Sonny Fortune (alto saxophone)

Hadley Caliman, Hubert Laws (tenor saxophone)

Art Kaplan (bassoon)

Louis Gasca (trumpet)

Rodgers Grant (piano)

William Allen (bass)

Steve Berrios (timpani)

Bernard Purdie (drums)

Julito Collazo, Osualdo Martinez (percussion)

Recording: 1969 by Fred Catero

Production: David Rubinson

About Speakers Corner

At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.

During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.

A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.

We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.

We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.

To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.

The Soul Of All Natural Things

Includes Collaborations With Ramona Gonzalez (Nite Jewel) And Julia Holter

Includes Liner Notes With Song Visualizations From Linda Perhacs

Linda Perhacs' Parallelograms was created in the heart of hippy country, LA's Topanga Canyon, by a dental hygienist who was inspired by nature and by the cultural revolution going on around her. When Parallelograms was finished, it sounded like a masterpiece, but the label had pressed it so poorly, sales were non-existent. Obscurity beckoned.

But in the internet age obscurity can be discreetly transformed into a kind of niche immortality. By 2003, Parallelograms had become a cult album.

And slowly, Perhacs began making music again. In 2010, she connected with a new generation of LA musicians at tuned to her vision, including Fernando Perdomo and Chris Price, both accomplished musicians and producers in their own right. The trio began recording the eclipse song, "River Of God", and what became a new album's title track, The Soul Of All Natural Things.

1. The Soul of All Natural Things 2. Children3. River of God4. Daybreak5. Intensity6. Freely 7. Prisms of Glass 8. Immunity9. When Things Are True Again 10. Song of the Planets

Sin & Soul (Speakers Corner) (On Sale)

When Oscar Brown died at the age of 78 in 2005, one journalist at least, from The New York Times, was unsure as to how to describe the artist to whom America had just bid a final farewell. To write in his obituary that he was a jazz singer seemed too platitudinous, because Brown didn't just sing his songs, he performed them. But it would have been just as wrong to honour him as a jazz songwriter, despite his collaborations with Miles Davis and Max Roach, because he was more closely associated with gospel, folk and blues.His vocal qualities lie in a recitative-like, dry declamation, sharp as a knife, as is clearly heard in Work Song. The pain brought on by life's adversities can be cried out internally even if you appear to remain unaffected outwardly (But I Was Cool). A portion of sarcasm is necessary when the singsong of a slave trader constantly calls for higher bids (Bid 'Em In), and when a babbling child can pester its daddy with both banal and existential questions (Dat Dere).

The generously manned band does not often play all together as in the springy Signifyin' Monkey. Here we have just a few chords on the piano (Watermelon Man), there a gently plucked guitar (Brown Baby), or a quiet pulsating rhythm (Afro Blue) - very often not much more was needed for a sin and soul performance by Oscar Brown, who, by the way, and so typically American, regarded himself as an Entertainer.

Musicians:

Oscar Brown Jr. (vocal)

Phil Bodner (saxophone)

Billy Butterfield (trumpet)

Floyd Morris (piano)

Don Arnone (guitar)

George Duvivier (bass)

Osie Johnson (drums)

Recording: June - October 1960

About Speakers Corner

At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.

During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.

A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.

We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.

We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.

To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.

Sarah Sings Soulfully (Pure Pleasure)

Sassy's years on the Roulette label (1960-64) have been called the legendary singer's finest hour, a time when Vaughan's musicality merged exquisitely with her unbridled vocal ardor to achieve the sublime. Sarah Sings Soulfully, recorded at the close of that period, stands as a stunning testament to this claim - a divine collection of tracks that reveals an artist staking her soul on the rendering of each and every note, as well as the silences between them. Seductively spare, luxuriously poignant, and achingly honest all at the same time, Vaughan's vocals careen incandescently through the 12 standards presented here, swooping, sighing, and soaring with an intensity that remains unparalleled to this day. Listen to her reading of the Just Let Our Love Take Wing line on the version of Monk's 'Round Midnight found here: the fat, luscious drop of the word just, the long fermata on love, and the dip and swell that pulls the phrase forward on take. It's a moment of revelation - and incredibly, only one among the many that shimmer throughout this collection.

Musicians:

Sarah Vaughan (vocal)

Gerald Wilson (arranger, conductor)

Teddy Edwards (tenor saxophone)

Ernie Freeman (organ)

Carmell Jones (trumpet)

Milt Turner (drums)

Recording: June 1963 at United Recorders, Los Angeles, California

Production: Teddy Reig

About Pure Pleasure

At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.

During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.

A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.

We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.

We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.

To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.

Maggot Brain (Colored Vinyl)

1971's Maggot Brain is Funkadelic's all-out masterpiece. Absolutely no one working in soul and funk at the time had the scope, or vision, to pull off the kind of record that George Clinton and his collaborators have made here. Eccentric funk jams are book ended by two of the heaviest tracks (Maggot Brain and Wars Of Armageddon) ever committed to tape. The title track, and album opener, is nothing short of mind-blowing, Eddie Hazel's guitar is a revolution brought on by Clinton asking him to play "as if your mother just died". An essential classic and the deepest album to come out of the Parliament-Funkadelic camp.

1. Maggot Brain 2. Can You Get To That 3. Hit It and Quit It 4. You and Your Folks, Me and My Folks 5. Super Stupid 6. Back In Our Minds 7. Wars of Armageddon

Maggot Brain (Chocofunkalatte Vinyl)

1971's Maggot Brain is Funkadelic's all-out masterpiece. Absolutely no one working in soul and funk at the time had the scope, or vision, to pull off the kind of record that George Clinton and his collaborators have made here. Eccentric funk jams are book ended by two of the heaviest tracks (Maggot Brain and Wars Of Armageddon) ever committed to tape. The title track, and album opener, is nothing short of mind-blowing, Eddie Hazel's guitar is a revolution brought on by Clinton asking him to play "as if your mother just died". An essential classic and the deepest album to come out of the Parliament-Funkadelic camp.

1. Maggot Brain 2. Can You Get To That 3. Hit It and Quit It 4. You and Your Folks, Me and My Folks 5. Super Stupid 6. Back In Our Minds 7. Wars of Armageddon

Maggot Brain (Blue & White Starburst Vinyl) (Pre-Order)

1971's Maggot Brain is Funkadelic's all-out masterpiece. Absolutely no one working in soul and funk at the time had the scope, or vision, to pull off the kind of record that George Clinton and his collaborators have made here. Eccentric funk jams are book ended by two of the heaviest tracks (Maggot Brain and Wars Of Armageddon) ever committed to tape. The title track, and album opener, is nothing short of mind-blowing, Eddie Hazel's guitar is a revolution brought on by Clinton asking him to play as if your mother just died. An essential classic and the deepest album to come out of the Parliament-Funkadelic camp.

1. Maggot Brain 2. Can You Get To That 3. Hit It and Quit It 4. You and Your Folks, Me and My Folks 5. Super Stupid 6. Back In Our Minds 7. Wars of Armageddon

Viva Elvis

Viva Elvis, the album, is a 21st century celebration of Elvis Presley and his music, featuring the voice of the king in a whole new context. The undisputed King of Rock 'n' Roll, Elvis Presley, remains one of the most iconic and powerful forces in popular culture.

Before Elvis, said John Lennon, There was nothing. After Elvis, the world looked and sounded different. With a swivel of his hips and the power of his voice, Elvis broke down barriers and shattered the status quo, revolutionizing the world of music, film and fashion, while signaling a seismic shift in gender, class, race and generational relationships.

This revolution continues with Viva Elvis, the album. This postmodern studio masterwork invokes the spirit and essence of Elvis from a contemporary perspective, while furthering the revolutionary impulses of Elvis' sound. Viva Elvis re-imagines the King's own vocal performances in a broad variety of new musical settings.

This new sound echoes Elvis' own versatility and ability to master all music genres, from Delta blues to rockabilly, from raw soul to gospel, from Southern folk to Vegas pop, while incorporating elements of garage rock, punk, urban and hip-hop. Viva Elvis is the result of a partnership with Cirque du Soleil, who also produced the Beatles Love.

I'm New Here

Gil Scott-Heron is one of the most influential and important singer/songwriters to have come out of America in the second half of the last century. Much can be said about why Gil's lyrics are so original and powerful, but it is important not to overlook his utterly singular voice which is so distinctive and rough and tender. It's a voice of experience and the way his voice floats over the shifting funk rhythms and the deep jazz, soul and blues melodies is nothing short of sublime. It's also what enables him to draw you in to the difficult issues he does not shy away from dealing with. His sound is intimate and warm and direct and consequently it is hard to resist being moved and inspired by his message. Gil has been consistently relevant whether it be on a personal or political canvas.

Early on in his career he wrote and recorded the song that for many is regarded as one of the first great rap tracks,The Revolution Will Not Be Televised. From its opening lines which turn Timothy Leary on his addled head (You will not be able to stay home brother. You will not be able to plug in, turn on and cop out. You will not be able to lose yourself on scag brother, because the revolution will not be televised.), Gil threw down the gauntlet, challenging us to get involved, be informed, retain a sense of humour and do the right thing. He was angry, politically savvy, compassionate and very funny. When he was brought to Arista by Clive Davis in 1975, he was billed by the label as the black Bob Dylan, and whilst this reductive and over simplistic description is typical marketing bullshit, there is some raison d'etre for this moniker. For Gil is a protest poet of enormous subtlety who has railed against those things in the world that he believes are wrong. And like Dylan he has often used humour as a powerful weapon.

A new record from Gil Scott-Heron, 40 years after his first solo album, is a cause for major celebration and something that the world needs now more than ever.

1. On Coming From A Broken Home (Pt. 1)2. Me And The Devil3. I'm New Here4. Your Soul And Mine5. Parents (Interlude)6. I'll Take Care Of You7. Being Blessed (Interlude)8. Where Did The Night Go9. I Was Guided (Interlude)10. New York Is Killing Me11. Certain Things (Interlude)12. Running13. The Crutch14. I've Been Me (Interlude)15. On Coming From A Broken Home (Pt. 2)

Love Power Peace

First Release Of 3 LP Set As Envisioned By James Brown

Includes Deluxe Jacket With Rare Photos And Liner Notes By Alan Leeds

Mastered From Brown's 1971 Mixdown Reels, Unused Until Now

James Brown's magnum opus! Love Power Peace is the sound of the Godfather and his youngblood J.B.'s (including Bootsy and Catfish Collins) electrifying a crazed Parisian audience on March 8, 1971. Sequenced and mixed by Brown himself for a planned triple album, the set was shelved when key band members departed before it could be issued. Here, for the first time, are the sides as intended, exactly as delivered by James Brown Productions to his label in 1971-a 3-LP set with each disc mastered from the original mixdown reels, and each with a unique name, Love, Power and Peace! Brown and band rip through recent singles like "Sex Machine," "Super Bad," "Give It Up or Turnit a Loose" and "Get Up, Get Into It, Get Involved" with a metronomic precision laid down by bassist Bootsy Collins and drummer Jabo Starks. "Ain't It Funky Now" - formerly a slow, simmering groove - is transformed into a fast, funky tour de force in which newbie Catfish Collins unleashes one of the most badass guitar solos ever, while a medley of three other Brown standards ("Papa's Got a Brand New Bag"/"I Got You (I Feel Good)"/"I Got the Feelin' ") blazes by faster than the Godfather of Soul's personal Learjet. Interspersed with just the right amount of slow numbers like "Georgia on My Mind," and including tracks from the show's supporting acts that were not included on the 1992 CD (which was a remixed, incomplete show), this document of the funk revolution features rare photos and liner notes by tour director Alan Leeds. The way to jump on board for a trip through James' world at the height of his career!

Punk 45: Vol. 3 Proto-Punk 1970-77

Soul Jazz Records' new Punk 45 album is a collection of tracks of twisted, raw and energized proto-punk music from the early 1970s, ahead-of-its-time music which led the way for the birth of punk in the second half of the 1970s. Punk 45: Sick on You! One Way Spit! After the Love & Before the Revolution: Proto-Punk 1969-77 is the third volume in this series, following on from two earlier albums as well as Soul Jazz Records' massive 400-page Punk 45 cover art book (compiled by Jon Savage, author of the seminal punk book London's Dreaming, and Stuart Baker of Soul Jazz Records). This new album is compiled and has extensive sleeve-notes by Jon Savage.

Black Fire! New Spirit!

Soul Jazz Records' new release Black Fire! New Spirits! Explores deep, radical and spiritual jazz in the USA in the period between 1957-75. In the 1960s and into the 1970s, jazz music in the USA was in an almost constant state of revolution, with the music and lives of African-American artists radicalised by the advent of the civil rights movement, Black Power, and a new spiritual awakening. For over 20 years now Soul Jazz Records have been exploring this rich area of deep and spiritual jazz music with an array of albums such as Freedom, Rhythm and Sound, Universal Sounds of America, New Thing, Soul Jazz Love Strata East and more. Soul Jazz Records have also released a steady stream of reissues of lost and classic deep jazz releases over the years from artists such as Art Ensemble of Chicago, Steve Reid, Pharaoh Sanders and others. This new album features groundbreaking and revolutionary artists such as Don Cherry, Archie Shepp, The Last Poets and Yusef Lateef as well as many rare and deep lost tracks from lesser known artists such as Creative Artists Ensemble, Granchan Moncur, Lloyd McNeill, Tyrone Washington and others.

The Sound Of Wilson Pickett (Speakers Corner)

Wilson Pickett's best years were those when he recorded for Atlantic Records, and he remained convinced of this even after changing to other labels in his later career. Atlantic boss Jerry Wexler took the promising young Gospel singer under his wing and launched him on his rapidly developing career as an unruly soul man. Pickett's aggressiveness, which in his mature years occasionally resulted in him having backstage fights with musicians and managers, are expressed here in strong words and are given further bite by his antagonistic band. Although he lashed out to the full in his emotional, crackling vocal attacks, he never lost control and even his strongest outbursts remained highly musical. His unique, breathless sound and his ferocious efforts to express himself succinctly do not make for easy listening on this superb hit record and for white people, who according to Pickett would never understand soul music anyway, could well present a real challenge. Is this such fascinating music that you become dumbstruck? Very possibly, as critic Joachim von Mengershausen writes: »His voice is hard, aggressive and strained; it hardly binds the tones together, chops up the phrases, blurts out the essentials - Pickett has eliminated all the Uncle-Tom warmth in soul and has virtually rocked it away.«

At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Speakers Corner all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.

During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existant tools from the 80s and 90s for manufacturing.

A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.

We should like to emphasise that Speakers Corner Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle. We have one digital recording in our catalogue (Alan Parsons / Eye In The Sky"), but even in this particular case we used the analogue tapes for cutting.

We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.

To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects - excluding the exception above - and that the lacquer discs are newly cut.

1. Soul Dance Number Three

2. Funky Broadway3. I Need A Lot Of Loving Every Day4. I Found A Love, Part 15. I Found A Love, Part 26. You Can't Stand Alone7. Mojo Mamma8. I Found The One9. Something Within Me10. I'm Sorry About That11. Love Is A Beautiful Thing

Silk Degrees (Pure Pleasure)

Boz Scaggs is a unique and marvellous singer. His soulful voice can be, in turn, silky-smooth and sensual or funky and upbeat, depending on the material, but it is always compelling. This voice comes through superbly on the ten great tunes featured on Silk Degrees.

Scaggs, a solid composer in its own right, wrote three tracks on his own, co-wrote five more with David Paich. Paich contributed the delightful Love Me Tomorrow by himself while the remaining tune is a cover of Allen Toussaint's excellent What Do You Want the Girl To Do.

Stylistically, the compositions are a nice blend of Philly soul influenced pop and rock. The production is very slick and sophisticated thanks to the arrangements by future Toto's keyboardist David Paich, to the orchestral direction (strings and brass) by Sid Sharp, to the soulful back-up vocals and to the sheer artistry of all the musicians involved. A classic of elegant, well crafted music.

At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.

During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.

A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.

We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.

We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.

To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.

1. What Can I Say2. Georgia3. Jump Street4. What Do You Want The Girl To Do5. Harbor Lights6. Lowdown7. It's Over8. Love Me Tomorrow9. Lido Shuffle10. We're All Alone

East Coasting (Pure Pleasure)

Charles Mingus is usually known for his wild, soulful and avant-garde compositions. East Coasting is mellow by comparison, but it still cooks on a musical level. The Mingus touches are there; the trombone, drummer Danny Richmond and of course the dark emotional undercurrent looms large, too. The personnel are all Mingus regulars, except for pianist Bill Evans, who would not be described as 'soulful' in the traditional sense, but his introverted and sensitive style works well with Mingus's music. His playing on West Coast Ghost (the album's stand-out track) and Celia are two examples of Evans' ability to understand an artist's musical vision and play accordingly in his own beautifully original style.East Coasting sounds like the prototypical 1950s jazz recording. It's something one would hear in an attic converted to a bedroom where an artist or lonely soul might live. It's what a lot of people might believe Jazz would or should sound like. Highly recommended to Jazz lovers and perhaps more importantly to young people who have just been blown away by Kerouac's novel On The Road and have become interested in exploring Jazz. East Coasting will allow them to get a taste of lost creative America.

Musicians:

Charles Mingus (bass)

Clarence Shaw (trumpet)

Jimmy Knepper (trombone)

Shafi Hadi (tenor saxophone, alto saxophone)

Bill Evans (piano)

Dannie Richmond (drums)

Recording: August 1957 in New York City

About Pure Pleasure

At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.

During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.

A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.

We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.

We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.

To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.

Red Mecca (Awaiting Repress)

Remastered And Available On Vinyl For The First Time Since Mute's Reissue In 1990

Mute are delighted to announce a series of Cabaret Voltaire releases, starting with the vinyl issue of Cabaret Voltaire's iconic 1981 album Red Mecca

Remastered and available on vinyl for the first time since Mute's reissue in 1990, Red Mecca features the line up of Richard H Kirk, Stephen Mallinder and Chris Watson, and is Cabaret Voltaire's third album, and the final full album with co-founder Chris Watson.

Red Mecca was produced at Western Works, Sheffield, and, although rioting at this time hadn't reached Cabaret Voltaire's hometown, it was a particularly incendiary time across Britain and the tension was explicit through the news media. Explains Kirk, "that insurrection on the streets found its way into the music" and the album was seen by many as the alternative soundtrack to the unrest on the streets.

With Middle Eastern musical influences and a title that reflected the beginnings of long running tensions stemming from the Islamic Revolution and the resulting Afghanistan conflict and rise in fundamentalism, the buried vocals and large instrumental passages are a wonderful bridge between the punkier ethos of earlier releases, Mix Up and The Voice Of America and the more dance minded 2X45 and Yashar EPs that followed.

Inspirations on the album were varied, but these tensions were particularly highlighted by 'A Touch Of Evil', which bookends the album and was itself was inspired by the Orson Welles film Touch of Evil (1958) and the soundtrack by Henry Mancini. For 'Spread The Virus', the inspiration came from William Burroughs and northern soul while CB became another, initially unlikely sounding, inspiration. CB radio was important at the time as an alternative method of communication. Says Richard, "we were thinking about doing a pirate radio at that time, which never happened, but buried in the sounds before 'Red Mask', are clips of CB radio transmissions."

Red Mecca is an intriguing snapshot of a band continuing to experiment and evolve, different enough to anything of theirs before or after, and very different to whatever the rest of the planet was producing at the time (or since).

But Beautiful (Pure Pleasure)

A highly successful and respected jazz and soul singer, Nancy Wilson bridges the gap between the classic pop vocal era of Peggy Lee, Frank Sinatra and Ella Fitzgerald and the belting R&B divas of today. Though Nancy Wilson has always cited the emotionally naked, androgynous vocal style of Jimmy Scott as her primary influence, her voice carries definite echoes of Dinah Washington and Sarah Vaughan. Yet Wilson also has always had a strong feeling for post-Sam Cooke soul and the tartness of her delivery carries more than an echo of the sometimes-icy Lena Horne. Young and heart-stoppingly beautiful, Wilson was discovered singing in a N.Y.C. jazz club in the late 1950s by Cannonball Adderley, who told his management at Capitol Records that they needed to scoop her up before another label did. Wilson was immediately signed and started recording for Capitol, the premier vocal label of the 1950s and '60s.

Musicians:

Nancy Wilson (vocal)

Hank Jones (piano)

Gino Bertachini (guitar)

Ron Carter (bass)

Grady Tate (drums)

Recording: November 1969 in New York City

Production: David Cavanaughdeutsch

About Pure Pleasure

At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.

During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.

A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.

We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.

We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.

To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.

1. Happiness Is A Thing Called Joe2. Oh! Look At Me Now3. Glad To Be Unhappy4. Do It Again5. But Beautiful6. Easy Living7. Prelude To A Kiss8. I Thought About You9. For Heaven's Sake10. Supper Time11. I'll Walk Alone12. Darn That Dream13. In A Sentimental

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